I'm Different or Not Exactly Duane Allman - Revision history

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Jason.Kreitzer at 15:02, 4 August 2021

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 '''What distinguishes one instrument from another?<br>
-Each guitar has its own character and its own sounds that it likes to make that come naturally to that instrument. So I'm going to choose an instrument that matches the character of the song. I also have a Telecaster – one of the copies of the originals that Fender put out about a year ago. It's a real good blues guitar. The fifth guitar would be the SG copy that I got from this guy in Phoenix, Arizona. It says "Gibson" on it, but it's handmade, and it's got an ebony fretboard with 23 frets on it; it goes one fret higher than a normal SG. I play that a lot.
+Each guitar has its own character and its own sounds that it likes to make that come naturally to that instrument. So I'm going to choose an instrument that matches the character of the song. I also have a Telecaster – one of the copies of the originals that Fender put out about a year ago. It's a real good blues guitar. The fifth guitar would be the SG copy that I got from this guy in Phoenix, [[Arizona]]. It says "Gibson" on it, but it's handmade, and it's got an ebony fretboard with 23 frets on it; it goes one fret higher than a normal SG. I play that a lot.
 '''Do you use the 23rd fret often?<br>

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 '''Is it difficult to line up these concerts?<br>
-Part of the problem is that we've been promised performances by certain other people at certain other times who want to do premieres. This included [composer/conductor] [[Pierre Boulez]], who commissioned one piece. That's set for January 9, 1984, in Paris; it's a piece called [[The Perfect Stranger]]. It was written for his little orchestra, a 29- or 30-piece group. I wrote three pieces to be performed with that orchestration. Right now, we don't have any guarantee that even if he conducts the premiere that it will get recorded. And I'm interested in getting it recorded so that I can hear it. It's never enough just to hear it played once live in a hall. You may be able to listen to the stuff carefully so that you can go further and advance your craftsmanship, but it's just a little bit hard to do that by hearing it only once, so I do want to get it recorded.
+Part of the problem is that we've been promised performances by certain other people at certain other times who want to do premieres. This included [composer/conductor] [[Pierre Boulez]], who commissioned one piece. That's set for January 9, 1984, in [[Paris]]; it's a piece called [[The Perfect Stranger]]. It was written for his little orchestra, a 29- or 30-piece group. I wrote three pieces to be performed with that orchestration. Right now, we don't have any guarantee that even if he conducts the premiere that it will get recorded. And I'm interested in getting it recorded so that I can hear it. It's never enough just to hear it played once live in a hall. You may be able to listen to the stuff carefully so that you can go further and advance your craftsmanship, but it's just a little bit hard to do that by hearing it only once, so I do want to get it recorded.
 '''Who will be performing your pieces?<br>
@@ Line 76: / Line 76: @@
 '''Will any members of your regular band be included?<br>
-From the United States, I'm bringing with me [[Ed Mann]], our regular percussionist, and [[Chad Wackerman]], our regular drummer, as well as David Ocker, who is going be playing the clarinet solo in "[[Mo 'n Herb's Vacation]]." The conductor will be [[Kent Nagano]], who is currently the conductor of the Berkeley Symphony Orchestra. I'm taking Mark Pinske, the engineer who also did all the live stuff on the last tour. And the whole thing is going to cost us far less than what it would have cost us in Syracuse.
+From the United States, I'm bringing with me [[Ed Mann]], our regular percussionist, and [[Chad Wackerman]], our regular drummer, as well as [[David Ocker]], who is going be playing the clarinet solo in "[[Mo 'n Herb's Vacation]]." The conductor will be [[Kent Nagano]], who is currently the conductor of the Berkeley Symphony Orchestra. I'm taking Mark Pinske, the engineer who also did all the live stuff on the last tour. And the whole thing is going to cost us far less than what it would have cost us in Syracuse.
 '''Who will take on the expense?<br>
-Well, the entire orchestral thing is on my own budget. I've had requests from orchestras all over the world asking to play music, but basically it comes down to one thing: They want me to pay for it. Because once it's recorded, they all want to get recording scale for doing it – 110 people. We're talking basically about several recording sessions for 110 people. If you were to do that in Hollywood, and say, "Okay, I'm going to do five or six sessions with 110 guys," and have them come in and sight-read it, I don't think you would get a good performance out of it. What I'm hoping to do is have them rehearse it for about a week, and it may turn into something that they will keep in their repertoire, and it will continue to be played especially after the record comes out because then it will be something that will sell tickets for them.
+Well, the entire orchestral thing is on my own budget. I've had requests from orchestras all over the world asking to play music, but basically it comes down to one thing: They want me to pay for it. Because once it's recorded, they all want to get recording scale for doing it – 110 people. We're talking basically about several recording sessions for 110 people. If you were to do that in [[Hollywood]], and say, "Okay, I'm going to do five or six sessions with 110 guys," and have them come in and sight-read it, I don't think you would get a good performance out of it. What I'm hoping to do is have them rehearse it for about a week, and it may turn into something that they will keep in their repertoire, and it will continue to be played especially after the record comes out because then it will be something that will sell tickets for them.
 '''What kind of material will be on your new album?<br>
@@ Line 102: / Line 102: @@
 Not necessarily. Sometimes I record with the effects, and sometimes they're added later. It just depends.
-'''Steve Vai said that the "Peter Gunn-sounding" guitar in "[[Teen-age Prostitute]]" [Drowning Witch] sounded much different after it was mixed than when he recorded it.<br>
+'''[[Steve Vai]] said that the "Peter Gunn-sounding" guitar in "[[Teen-age Prostitute]]" [Drowning Witch] sounded much different after it was mixed than when he recorded it.<br>
 We can change the sound of just about anything because we have a lot of sound modifying tools in the studio. When you arrange something, the arrangement is always modified by what comes before it or after it on a side. If you want the side to play smoothly, you may equalize all the different parts of a tune to sound one way, but when you start mixing a whole side – that's what we do: We start on song one and work through to the end – to make the continuity work in terms of the tonal quality of the whole side, sometimes we have to change things around drastically.
@@ Line 183: / Line 183: @@
 Randy Rhoads was my son Dweezil's favorite guitar player. He really loved Randy. For the people who love that kind of music, there should be those types of guitar players doing that kind of stuff to entertain them.
-'''Do you think young guitarists who start by learning every flashy technique are missing anything by not learning basics such as blues a la Elmore James?<br>
+'''Do you think young guitarists who start by learning every flashy technique are missing anything by not learning basics such as blues a la [[Elmore James]]?<br>
 Well, [[Elmore James]] is an acquired taste, and I happen to really like Elmore James, and I like all blues-type guitar players and all that sort of stuff. I happen to think that what they play really means something, as opposed to most of what happens on most rock and roll records – it's very calculated sound effects that fit the song. But to say that a person has to start with Elmore James before he graduates up to fire-breathing guitar playing status is stupid, because you really don't need to. If you don't have any feeling for that type of music, why involve yourself with it? I would rather see a guitar player totally ignore that realm of music in an honest way – saying, "That's just not my stuff" – than get a cursory glance of it and say, "Now I understand it," because they'll just do a parody of it. You've really got to love that stuff. I really hope that one of these days that sort of blues comes back. Everything else comes back. And I think that kind of music is great.

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 '''What modifications have you had done to your D'Mini Strate?<br>
-The neck and body are stock, and it has Seymour Duncan pickups, and a built-in parametric equalizer with variable "Q" [resonance]; that's the one with the concentric knobs. It was custom-designed here at the [[Utility Muffin Research Kitchen]] [Zappa's studio/workshop]. There's a volume control and a silver plug that takes the place of another parametric that failed when I was out on the road. It has a three-way selector, and the toggle switch used to be for switching between the two parametrics. By having two parametrics, I was able to preset two different types of feedback boost. The circuit boards were worked on by [[Roadies and Technicians#Jay Sloatman|Midget Sloatman]] and [[Roadies and Technicians#Eddie Clothier|Eddie Clothier]]. [[Roadies and Technicians#David Robb|David Robb]]. who was the guitar tech on the last tour, also did some work on it.
+The neck and body are stock, and it has Seymour Duncan pickups, and a built-in parametric equalizer with variable "Q" [resonance]; that's the one with the concentric knobs. It was custom-designed here at the [[Utility Muffin Research Kitchen]] [Zappa's studio/workshop]. There's a volume control and a silver plug that takes the place of another parametric that failed when I was out on the road. It has a three-way selector, and the toggle switch used to be for switching between the two parametrics. By having two parametrics, I was able to preset two different types of feedback boost. The circuit boards were worked on by [[Roadies and Technicians#Arthur Sloatman|Midget Sloatman]] and [[Roadies and Technicians#Eddie Clothier|Eddie Clothier]]. [[Roadies and Technicians#David Robb|David Robb]]. who was the guitar tech on the last tour, also did some work on it.
 '''In generating your pieces, what comes first?<br>

@@ Line 52: / Line 52: @@
 '''What modifications have you had done to your D'Mini Strate?<br>
-The neck and body are stock, and it has Seymour Duncan pickups, and a built-in parametric equalizer with variable "Q" [resonance]; that's the one with the concentric knobs. It was custom-designed here at the Utility Muffin Research Kitchen [Zappa's studio/workshop]. There's a volume control and a silver plug that takes the place of another parametric that failed when I was out on the road. It has a three-way selector, and the toggle switch used to be for switching between the two parametrics. By having two parametrics, I was able to preset two different types of feedback boost. The circuit boards were worked on by Midget Sloatman and Eddie Clothier. David Robb. who was the guitar tech on the last tour, also did some work on it.
+The neck and body are stock, and it has Seymour Duncan pickups, and a built-in parametric equalizer with variable "Q" [resonance]; that's the one with the concentric knobs. It was custom-designed here at the [[Utility Muffin Research Kitchen]] [Zappa's studio/workshop]. There's a volume control and a silver plug that takes the place of another parametric that failed when I was out on the road. It has a three-way selector, and the toggle switch used to be for switching between the two parametrics. By having two parametrics, I was able to preset two different types of feedback boost. The circuit boards were worked on by [[Roadies and Technicians#Jay Sloatman|Midget Sloatman]] and [[Roadies and Technicians#Eddie Clothier|Eddie Clothier]]. [[Roadies and Technicians#David Robb|David Robb]]. who was the guitar tech on the last tour, also did some work on it.
 '''In generating your pieces, what comes first?<br>

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 '''"Not Exactly Duane Allman"<br>
 [[Guitar Player Magazine]]: February, 1983<br>
-by [[Tom Mulhern]]<br>
+by [http://www.mulhern.com/about/index.htm Tom Mulhern]<br>
 <br>
 Without Frank Zappa, where would popular music be? Most likely, right where it is – or very close. That is to say, his approach to music – complex, unpredictable, and often cynical – doesn't quite fit in with the pre-programmed mainstream of pop music. Elements of all types of music, including contemporary classical, jazz, heavy metal, and practically every other recognizable form are employed with equal aplomb in Zappa's work. In the last 16 years, the 42-year-old guitaristl/composer/producer has completed 35 LPs – among them double albums – and there's a raft of material still awaiting mixdown and pressing. He has amused millions, and become legendary for the finely honed (some would say offensive) sense of humor in his songs. His fans are devout. Although other people simply don't like him, in many cases their opinions are formed solely upon the basis of what they've heard about him, rather than as a reaction to his music. (In a 1979 interview with ''Record Review Magazine'', he said, "Most of 'em don't know what I do, but they know my name.") On one occasion, the criticism went beyond mere displeasure: While performing in London in 1971, he was pushed from a stage by an irate member of the audience, and suffered a compound leg fracture and many bruises.<br>

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 Frank also incorporated elements of jazz into rock long before it was fashionable; listen, for example, to his 1968 [[Hot Rats]] LP. Throughout his career he has brought together well-known and soon-to-be-well-known high-caliber musicians such as guitarist [[Adrian Belew]], bassist [[Jack Bruce]], keyboardist [[George Duke]], drummer [[Aynsley Dunbar]], and violinist [[Jean-Luc Ponty]]. Frank has also made a few movies, including [[200 Motels]] and [[Baby Snakes]] (the soundtrack of the latter is due for release sometime this year), and is currently editing miles of videotape for future presentation.<br>
-What about his guitar playing? He's done a great deal, and provides most of the band's g-string solos while on tour. He's a stickler for the right tone, and thrives on a sound that laps against feedback. However, he doesn't view himself as a guitar hero. Almost paradoxically, then, he assembled the three-album [[Shut Up 'N Play Yer Guitar]], a set of instrumentals that spotlights his fingerboard excursions. Transcriptions of many of his solos have been prepared for publication under the title [[The Frank Zappa Guitar Book]] [Hal Leonard]. Zappa produced these as a resuit of thousands of requests from guitarists who wanted huge doses of his playing. Besides providing these for his guitar-playing followers, each month he addresses questions on his compositional and instrumental approaches in his monthly Guitar Player column, "[[Absolutely Frank, Non-Foods|Non-Foods]]."<br>
+What about his guitar playing? He's done a great deal, and provides most of the band's g-string solos while on tour. He's a stickler for the right tone, and thrives on a sound that laps against feedback. However, he doesn't view himself as a guitar hero. Almost paradoxically, then, he assembled the three-album [[Shut Up 'n Play Yer Guitar]], a set of instrumentals that spotlights his fingerboard excursions. Transcriptions of many of his solos have been prepared for publication under the title [[The Frank Zappa Guitar Book]] [Hal Leonard]. Zappa produced these as a resuit of thousands of requests from guitarists who wanted huge doses of his playing. Besides providing these for his guitar-playing followers, each month he addresses questions on his compositional and instrumental approaches in his monthly Guitar Player column, "[[Absolutely Frank, Non-Foods|Non-Foods]]."<br>
 Since he was last interviewed in Guitar Player [Jan. '77], Frank has found less and less time to devote to the guitar, and only practices before touring. His love for the instrument remains undiminished, but the job of composing, managing his [[Barking Pumpkin Records]], recording and mixing albums, and otherwise making sure that his business is running smoothly, requires constant vigilance. Lawsuits brought by Zappa against Warner Bros. (his record distributor until 1977) over the unauthorized release of his [[Zappa In New York]], [[Sleep Dirt]], [[Studio Tan]], and [[Orchestral Favorites]], also tied up a great deal of his time. Some peripheral suits are still unresolved. Nevertheless, despite all of his other work, he still produces albums: the most recent one, [[The Man From Utopia]], is due early this year.<br>

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 '''How do they work?<br>
-They function very drastically. They start at 4k [4,000 cycles per second], and at that point when an "S" appears, they dump the whole top end. So. when it's triggered, it takes the whole top off the tape, and not just the "S." So it's very critical to tweak those things. The guy who cuts the lacquers [the earliest disc in the mastering process] for us is very careful about leaving it on when it's time to get rid of the S's, and turning it off right afterwards. It makes for a lot of manual work, and in order to do it, he works from a sheet of paper with timing numbers. So he'll, say, at one minute and 28 seconds turn on the high-frequency limiter to "4," look at the timer, and turn it on at the right time. He doesn't listen to the music, he does it by the numbers. Just turns it on and off. The easy way to do it is to turn on the high-frequency limiter and leave it on. There won't be any S's on the record, but there won't be any top end on it either. We fuss with that type of stuff. We have 30 or 40 refs for the new album [[The Man from Utopia]] and most people don't do that; they do one, and that's it.
+They function very drastically. They start at 4k [4,000 cycles per second], and at that point when an "S" appears, they dump the whole top end. So. when it's triggered, it takes the whole top off the tape, and not just the "S." So it's very critical to tweak those things. The guy who cuts the lacquers [the earliest disc in the mastering process] for us is very careful about leaving it on when it's time to get rid of the S's, and turning it off right afterwards. It makes for a lot of manual work, and in order to do it, he works from a sheet of paper with timing numbers. So he'll, say, at one minute and 28 seconds turn on the high-frequency limiter to "4," look at the timer, and turn it on at the right time. He doesn't listen to the music, he does it by the numbers. Just turns it on and off. The easy way to do it is to turn on the high-frequency limiter and leave it on. There won't be any S's on the record, but there won't be any top end on it either. We fuss with that type of stuff. We have 30 or 40 refs for the new album [[The Man From Utopia]] and most people don't do that; they do one, and that's it.
 '''Do you prefer to have your records done with half-speed mastering?<br>
-The only album that we ever did with half-speed mastering was [[Joe's Garage Acts I, II & III|Joe's Garage]]. It helps your top end, but it ruins the low end. Let's examine the frequency spectrum of what we're putting on the record. The new album has a lot of information around 30 cycles [Ed. Note: Low E on a bass guitar is 41.2 Hz], and there's a very full sounding bottom on some of these tunes. If you were to master that at half-speed, you'd need an equalizer that would have to be looking at 15 cycles. So you get a crisper, but a thinner-sounding record ifyou master at half-speed. On the Joe's Garage albums, we used half-speed mastering on all three of those discs, and I'm not totally delighted with the results.
+The only album that we ever did with half-speed mastering was [[Joe's Garage Acts I, II & III|Joe's Garage]]. It helps your top end, but it ruins the low end. Let's examine the frequency spectrum of what we're putting on the record. The new album has a lot of information around 30 cycles [Ed. Note: Low E on a bass guitar is 41.2 Hz], and there's a very full sounding bottom on some of these tunes. If you were to master that at half-speed, you'd need an equalizer that would have to be looking at 15 cycles. So you get a crisper, but a thinner-sounding record if you master at half-speed. On the Joe's Garage albums, we used half-speed mastering on all three of those discs, and I'm not totally delighted with the results.
 '''Do you have any examples?<br>
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 '''What attracted you to Steve Vai?<br>
-[[Steve Vai]] got the job because he sent a cassette and a transcription of "[[The Black Page]]" [[[Zappa In New York]]], and from hearing that, I could tell that he had a superior musical intelligence and very great guitar chops. And this showed me that there was a possibility to write things that were even harder for that instrument than what had already been used in the band. That's why he got the job.
+[[Steve Vai]] got the job because he sent a cassette and a transcription of "[[The Black Page]]" [[Zappa In New York]]], and from hearing that, I could tell that he had a superior musical intelligence and very great guitar chops. And this showed me that there was a possibility to write things that were even harder for that instrument than what had already been used in the band. That's why he got the job.
 '''What do you look for in a guitar?<br>

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 '''Of the many guitarists that you hired in recent years – [[Adrian Belew]], [[Warren Cuccurullo]], and [[Ray White]] – what did you like about each one that made you want them in your lineup?<br>
-[[Adrian Belew]], I thought, had potential to add something to the band as it was constituted at that time [1977], which was kind of a funny band. We blew out a lot of comedy stuff like "[[Punky's Whips]]" [only released on the first editions of [[Zappa In New York]]; otherwise unavailable]. That was the band that originated "[[Broken Hearts Are For Assholes]]" ][[Sheik Yerbouti]] ] and that kind of material. And Adrian just fit in with that, and so that's why he got the job. And [[Warren Cuccurullo]] was and still is a talented guitar player who had a desire to play standard repertoire songs he already knew from all the other albums. And he knew a lot of tunes; probably as many, if not more, than some of the other guys who were in the band at the time. And on the tour he did with us, we were doing a lot of the complicated songs off the records that people thought they would never hear on a stage. We were doing "Brown Shoes Don't Make It" ([[Tinsel Town Rebellion]]), "[[Inca Roads]]," and "[[Andy]]" (the latter two from [[One Size Fits All]]). We were doing a lot of hard repertoire. And he was good for that. Ray has been in the band twice. The first time, he felt a little bit out of place because he is an extremely religious person, and our band is not. And I think that there was some religious/emotional conflict the first time that he was in the band. He was always great: He had a good attitude about working and he did a good job. But I sensed that there was a certain amount of discomfort about him being in there vs. the type of material we were playing. So I let him go. And later on I said, well, why not try him again, because I had a band that I thought his personality would fit in with. So I called him up, he came down and tried out, and it clicked right away. So he's been with me for the past two or three years.
+[[Adrian Belew]], I thought, had potential to add something to the band as it was constituted at that time [1977], which was kind of a funny band. We blew out a lot of comedy stuff like "[[Punky's Whips]]" [only released on the first editions of [[Zappa In New York]]; otherwise unavailable]. That was the band that originated "[[Broken Hearts Are For Assholes]]" ][[Sheik Yerbouti]] ] and that kind of material. And Adrian just fit in with that, and so that's why he got the job. And [[Warren Cuccurullo]] was and still is a talented guitar player who had a desire to play standard repertoire songs he already knew from all the other albums. And he knew a lot of tunes; probably as many, if not more, than some of the other guys who were in the band at the time. And on the tour he did with us, we were doing a lot of the complicated songs off the records that people thought they would never hear on a stage. We were doing "Brown Shoes Don't Make It" ([[Tinseltown Rebellion|Tinsel Town Rebellion]]), "[[Inca Roads]]," and "[[Andy]]" (the latter two from [[One Size Fits All]]). We were doing a lot of hard repertoire. And he was good for that. Ray has been in the band twice. The first time, he felt a little bit out of place because he is an extremely religious person, and our band is not. And I think that there was some religious/emotional conflict the first time that he was in the band. He was always great: He had a good attitude about working and he did a good job. But I sensed that there was a certain amount of discomfort about him being in there vs. the type of material we were playing. So I let him go. And later on I said, well, why not try him again, because I had a band that I thought his personality would fit in with. So I called him up, he came down and tried out, and it clicked right away. So he's been with me for the past two or three years.
 '''He's got a really good blues style.<br>

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 '''Will the musicians from those albums be credited on the reissues?<br>
-Yeah. I don't know how familiar you are with the sound quality of those albums, but they're really disgusting. I've got some new refs of the same material made from the same masters, but done up to [[Barking Pumpkin]] standards, and they'll scare you to death. Because there's good music on those records; there's a lot lurking in there.
+Yeah. I don't know how familiar you are with the sound quality of those albums, but they're really disgusting. I've got some new refs of the same material made from the same masters, but done up to [[Barking Pumpkin Records|Barking Pumpkin]] standards, and they'll scare you to death. Because there's good music on those records; there's a lot lurking in there.
 '''How does somebody get to play guitar or bass for you?<br>